국내 창작 뮤지컬의 저작물성 및 저작권 이용 현황에 관한 실증적 연구

국문 초록 (Abstract)

21세기부터 본격화된 라이선스 뮤지컬의 공연은 국내 뮤지컬 시장의 급격한 성장을 가져온다. 이와 같은 상황은 일반 대중들의 뮤지컬에 대한 관심을 높이는 계기를 마련하였으며, 그 관심은 국내 창작 뮤지컬 제작의 활성화로 연결되었다.
창작 뮤지컬의 증가는 창작자의 창작에 대한 권리 보호, 그리고 창작자에 대한 적절한 대가의 지불이라는 피할 수 없는 현실에 직면하게 되며, 그 중심에는 창작 뮤지컬 기획사가 존재한다. 창작 뮤지컬 기획사는 창작자의 저작물에 자금을 투자하여 해당 저작물이 실제 대중들에게 공개될 수 있도록 하는 중간 매개체 역할을 담당하고 역할 수행을 위해 창작자와의 계약을 진행하게 되는데, 그 배경에 저작권이 핵심으로 작용하는 것이다. 저작권은 문화예술의 본질인 창작의 보호를 통해 예술의 진흥을 도모하고, 이는 창작의 보호를 통한 창작 뮤지컬 제작의 활성화로 연결된다고 볼 수 있다.
본 논문은 창작 뮤지컬 기획사와 창작자 사이의 계약을 중심으로 기획사의 창작 뮤지컬 이용 현황에 대해 분석하고 있다. 실질적 연구에 앞서 저작권의 이해를 돕기 위한 예비 연구로 저작권과 관련하여 기본적으로 이해하고 있어야 하는 저작물 및 저작자, 그리고 저작권 및 저작인접권에 대한 개념을 정리하게 된다. 또한, 본 논문의 조사 대상이 되는 뮤지컬, 그 가운데서도 창작 뮤지컬 시장의 현황 분석을 중심으로 뮤지컬 시장의 규모를 정리함으로써 창작에 대한 저작권 인식의 활성화의 필요성을 이해하게 된다.
뮤지컬 저작권 관련 판례에 의하여 공공연하게 규정되고 있는 가장 대표적인 속성은 결합저작물이라 할 수 있다. 결합저작물은 하나의 저작물을 여러 개의 단독 저작물로 분리될 수 있는 경우를 의미한다. 뮤지컬이 어문저작물, 음악저작물, 무용저작물, 미술저작물 등의 개별 저작물로 분류 가능하다는 사실은 뮤지컬이 결합저작물임을 보이는 단 적인 예라 할 수 있다. 뮤지컬이 결합저작물이라는 사실은 저작권법 상 명시되어 있지는 않으나, 이와 같은 사실은 과거의 분쟁의 판결에 따른 사례로써 일반화되었음을 찾아볼 수 있다.
본 논문은 창작 뮤지컬 저작물의 저작권 이용 현황을 사례 조사와 전문가 인터뷰를 통해 분석하고 있다. 이는 창작 뮤지컬 기획사의 저작권 이용에 따른 심층 인터뷰 및 전문가로부터 저작권과 관련된 그들의 의견을 수집하는 것으로 진행된다. 연구는 창작 뮤지컬 기획사와 창작자 사이의 계약 내용을 중심으로 이루어지는데, 계약의 내용은 크게 기획사와 창작자 모두에게 직접적으로 영향을 미치는 저작권과 관련된 세부적인 사항 및 실무적인 내용, 그리고 기획사 측에서는 소홀히 할 수 있지만 법적으로 반드시 보호되어야 하는 창작자 중심의 권리로 나누어 정리된다. 추가로 기획사와 창작자 사이의 계약의 방식 및 계약의 어려움 등 저작권과 관련된 전문가의 의견을 정리하게 된다.
국내 창작 뮤지컬 기획사의 저작권 이용 현황에 대한 실증적 분석은 결과적으로 뮤지컬 저작권 보호의 발전 방향 도출로 연결된다. 그리고 뮤지컬 저작권 보호의 발전 방향 도출은 뮤지컬 시장의 발전뿐만 아니라 공연예술 전반의 저작물 관리 시스템에 대한 발전적 방향을 제시할 수 있으리라 생각된다.

목차 (Table of Contents)

• 제1장 서론 ·········································································· 1
• 제1절 연구의 목적 ······································································· 1
• 제2절 연구의 방법 ······································································· 5
• 제3절 연구의 구성 ······································································· 8
• 제2장 저작권의 개념 ····························································· 10
• 제1절 저작권의 개념 ··································································· 10
• 1. 저작물의 개념 ····································································· 13
• 2. 저작자의 개념 ····································································· 15
• 제2절 저작권의 구분 ··································································· 16
• 1. 저작인격권 ········································································· 16
• 2. 저작재산권 ········································································· 17
• 제3절 저작인접권 ······································································· 21
• 제3장 뮤지컬의 저작물성 ························································ 23
• 제1절 뮤지컬의 개념 ··································································· 23
• 1. 뮤지컬의 정의 및 특성 ··························································· 23
• 2. 뮤지컬의 분류 ····································································· 25
• 제2절 국내 뮤지컬 산업 현황 ························································· 28
• 1. 뮤지컬의 제작현황 ································································ 30
• 2. 관람객의 지출 및 활동을 통한 부가 산업의 활성화 정도 ··················· 34
• 제3절 뮤지컬의 저작물성 ······························································ 38
• 1. 결합저작물 ········································································· 38
• 2. 2차적저작물 ········································································ 44
• 제4장 창작 뮤지컬 저작물의 저작권 이용 현황에 관한 실증적 연구 ··· 48
• 제1절 조사 설계 ········································································· 48
• 1. 분석 방법 ··········································································· 48
• 2. 연구의 대상 선정 ·································································· 51
• 3. 사전 조사 ··········································································· 53
• 4. 사례연구 조사 및 심층인터뷰 질문 설계 ······································ 54
• 제2절 국내 뮤지컬 기획사의 저작권 이용 실태 분석 ······························ 57
• 1. 공연권의 획득과 저작권 사용료 ················································· 57
• 2. 창작자의 권리 ····································································· 76
• 3. 계약 방식과 저작물 관리 ························································ 86
• 제5장 결론 ·········································································· 98
• 제1절 뮤지컬 저작물의 이용 실태에 따른 공연예술 저작권 보호 발전 방향 ····· 98
• 제2절 연구의 요약 및 한계 ··························································· 111
• 참고문헌 ··········································································· 115
• <부록1> 조사지 ·································································· 122
• <부록2> 뮤지컬 공연 계약서 ················································· 130
• ABSTRACT ······································································ 138